Tara Foley M344 Dr.

May Professional Development Project Rubric

Beginning 1 Not able to play any scales Be able to play scales

Developing 2 Play one scale Only play half a scale

Accomplishing 3 Play two to three scales

Exemplary 4 Play four to five scales

Be able to play a method book exercise Be able to display how to hold the instrument correctly

Not able to play an exercise

Play one method book exercise Play from one of the first pages

Play two method book exercises Play from one of the first five pages of book

Play three to four method book exercises Play from one of the first five pages of book Holding the instrument at the correct angle Able to make a consistent sound

Not able to hold the instrument Not attempting to make a sound

Be able to display different articulations

Not able to demonstrate any type of articulations

Holding the Holding the instrument, but not instrument at the with the correct correct angle angle Unable to make a consistent sound Unable to make a sound Able to Able to demonstrate demonstrate a a legato articulation legato articulation correctly Able to demonstrate a staccato articulation Students submits a journal with 4-8 entries The entries are over 3 sentences long, but do not include teaching techniques Review of 4-8 articles/websites The reviews are over 2 sentences long, but do not include practical applications

Able to demonstrate a legato articulation correctly Able to demonstrate a staccato articulation correctly Student submits a journal of over 6 entries The entries explain how the student could apply their practice to teaching in the classroom Review of over 6 articles/websites The reviews explain how the student applied information to learning flute or how it could be applied to teaching

No journal is presented A practice journal

Student submits a journal with 1-3 entries The entries are 2-3 sentences each

No reviews are submitted Review of articles and websites

Review of 1-3 articles/websites The reviews are 23 sentences long

Flute Practice Journal

10/9/12

Talked to Melissa Mashner about how to hold a flute o Left foot at 2 oclock, zipper of pants at noon o Hold flute in correct hand position with G key level with nose, arms-length away o Pivot flute at the point of the G key counter-clockwise while moving head to the left, bringing instrument to mouth o Turn torso to face forward in the same direction as zipper Played Flute 101: Mastering the Basics o P. 5 practice articulation Still have to ask about how to correctly change articulation o Pp. 7 9 learn notes B, A, G, and C Have problems holding instrument upright when playing Study flute fingering chard in Flute 101 I found that through learning a new instrument, I am remembering how hard and frustrating it can be to learn a new instrument. When a teaching, I will be able to help student overcome frustration by explaining that a new instrument is always hard. I can see myself playing the flute in front of a middle school or elementary school orchestra classroom and explaining that instruments are always hard to learn.

10/16/12 Looked up a more extensive flute fingering chard o I am having difficulty remembering fingerings, therefore cant play scales without the chart I am able to play about 7 notes well, but have to keep referring to the chart. I am working on different articulations with the barrel of the flute o I dont know how to soften my tongue articulations Once I can actually play different articulations, I hope to be able to display this in the classroom. I want to show students the similarities between air use and bow use. I could have students learn air articulations that could then be emulated on their string instruments.

10/20/12 Practiced articulations on the barrel of the flute o Tongue is still hard, but attempted different syllabus like to, do, lo, and nu. o In the classroom, I could explain that the physicality of creating different bow articulations could be different between people, but should sound the same for ensemble uniformity. I want to develop this idea more. Worked on the first couple pages of Flute 101 still having to check fingering chart periodically

I can talk to students about relating to having problems with remembering what notes go with which note. I want to figure out a game or practice technique for students to learn note names and fingerings without having to actually play the instrument. It would be helpful for students to practice the physicality of moving their fingers without having to worry about sound production.

10/25/12 Today, I worked only on the head joint. I want to have solid articulations, but it is much harder to learn than I expected. As I was instructed by Melissa Mashner, I worked on making a sound out of a bottle, but I struggled with applying the same to the flute. To apply this to my own teaching, I want to show students how to practice effectively without making normal sounds out of their instruments. Could be applied to string playing through ghosting and sliding up and down the fingerboard.

Flute Website Notes/Reviews

Beautiful Tone, Beautiful Heart
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Bryce, Pandora. "Beautiful Tone, Beautiful Heart." Suzuki Flute. Flute Focus, 26 July 2009. Web. 14 Nov. 2012. <http://www.flutefocus.com/64-suzuki-flute-0109.html>. According to Suzuki, teachers should use their best tone to demonstrate to their students Modeling great tone allows students to compare their tone to the tone of the teacher Teachers should create great expressive differences in demonstrations When talking about technique, be specific as to what to fix, not just general problems Teacher should demonstrate a good posture and embouchure; a teacher has to model what posture she wants her students to have Intonation must be taught with a tuner, but also in context with equal temperate intonation In teaching flute, just as any instrument, the teacher is the model for the students. Therefore, the teacher must be as perfect of a model as possible so that the students can emulate them.

Suzuki Flute Musical Development for Young Children

Bryce, Pandora. "Suzuki Flute Musical Development for Young Children." Suzuki Flute. Flute Focus, 3 Aug. 2010. Web. 14 Nov. 2012. <http://www.flutefocus.com/330-suzuku-flute-musicaldevelopment-for-young-children.html>. The Suzuki method for flute is similar for the method for violin The use of mother tongue and parental involvement are key to childrens develop The instructor and structure of the program should be nurturing and helpful for all students, especially for students that are struggling The Suzuki method is especially effective for the flute because of the size of the instrument and ease of the students ability to physically play the instrument Because of the Suzuki method, there are materials for young players that train the ear and instructional information for teachers Rethinking the Breath

Del Palazzo, Alexis. "Rethinking the Breath." Teaching Notes. Flute Focus, 4 June 2011. Web. 14 Nov. 2012. <http://www.flutefocus.com/468-rethinking-the-breath.html>. When playing flute, it can be difficult to get enough air, but that should not be apparent to the audience Tips on breating: o As you inhale, focus on air gathering in your spine rather than your lungs; allow your body to expand when taking in air o Lungs should naturally expand dont force your stomach to expand; practice this with slow scales and long tones

Experiment with a high, wide, and forward tongue allows more air to get to your lungs faster because air is not lingering in the bottom part of your mouth Helpful for playing very soft

Flute Tips for Everyone

Lazzari, Liliana. "Flute Tips for EVERYONE." Flutediva. Flutediva, n.d. Web. 14 Nov. 2012. <http://www.flutediva.com/flute-tips-for-everyone.html>. This article has a lot of useful information for beginning flute students Embouchure and Tone Production o Talks about considerations for different mouth types and the condition of teeth (if crooked or if there are braces) o Beginning flute students shouldnt be expected to play softly in the higher registers because it could lead to a pinched embouchure o Make sure that the embouchure is relaxed so that a good tone can be produced a tight embouchure could lead to muscle dystonia in the lip area Playing in all registers and intonation o The high register should not be a problem for students if they have a relaxed embouchure o To develop the higher register, students should use lots of fast air to develop the higher register sounds like yelling o Although this approach leads to very loud high registers, it will help them stay relaxed and have a better sounding higher register later on o If the high register is too sharp have them push out their upper pallet or puff out their cheeks; if it is too flat have them use more air or fix the focus of their air o For low notes, have students think about having a smaller opening and have firmer lips o Have students experiment with where the cracking point is on the low register Playing softly in tune o Have students practice playing very loudly to extremely soft o Work on pitch bending and having a smaller air stream Posture and hand position o Left hand should be collapsed on the flute o The right hand can be a four- or three-point position Four-point position: thumb under index and middle finger, using the bottom lip for balance Three-point position: thumb is on the backside to press flute forward, bottom lip pushing out; left hand is pushing toward from body as the right thumb is pushing away from the body

A Beginner Flute to Suit

Lonsdale, Karen. "A Beginner Flute to Suit." Teaching Notes. Flute Focus, 15 Nov. 2009. Web. 14 Nov. 2012. <http://www.flutefocus.com/195-beginner-flute-to-suit.html>. Future injuries can often be traced to improper beginning playing therefore there should be an emphasis on correct position and embouchure from the beginning Flute players must be aware of their neck, back, arm, wrist, and finger placement to avoid pain and problems The first step to avoid these problems are to choose instruments that fit the players body type and physical capabilities There are some ergonomic alternatives, such as the Yamaha Fife helpful for teaching sound production, but does not have the full chromatic range o Make sure students are learning flute fingerings and reading music so that the transition to a flute is easier Head joints that are curved can help alleviate some problems o Although different from a traditional flute, it makes it much easier to play for young students which improves sound o Helps with spine alignment Foot joints can be changed so that the flute is shorter and allows for less strain on the right hand and arm Beginners should begin on closed-holed instruments so that they do not have to strain to cover the hole as well as push the button could lead to finger straining

The Wide World of Flute Pedagogy

"The Wide World of Flute Pedagogy." Angela's Flute. Web. 14 Nov. 2012. <http://www.angelfire.com/tn/angelflutes/pedagogy.html>. Teachers should spend time on sitting position and how to hold the flute o Stretching should be done throughout rehearsal and practice times o Rolling the back, stretching the spine and neck, wiggling hands o All can be done in a sitting or standing position useful in long ensemble rehearsals for brain breaks o Students should be aware of how their body tenses up and find ways to alleviate on their own during personal practice times o Have students look at their position in a mirror A list of technique materials o Includes etudes, scales, arpeggios, and modes When repairing technique issues, be able to identify what the problem is o Use rhythms to fix, create games, repetition Tonguing

Initially a hard concept to learn, but teachers and students should both be diligent to learn o Have the students experiment with where their tongue should go not all mouths are the same, therefore tonguing may be different from player to player o Slowly add in double- and triple-tonguing Double: dug-guh Triple: tuh-kuh-tuh o Practice on scales to become more comfortable and to work on intonation o Flutter tonguing either in a purring sound or gargling at the back of the throat o Embouchure its like spitting a watermelon seed upper lip down lower lip out like an aircraft carrier inside corners against teeth air direction changes for different octaves air speed is increased and the blowing angle is raised or lowered Breathing o No sound should be made on the intake o Explain the diaphragm o Remind students to not raise shoulders when breathing in or out Tuning o Play in unison and ask them to listen to beats in the sound try to eliminate the beats o Tuning methods: Pull head joint out if sharp; in if flat Roll head joint out if flat; in if sharp Adjust embouchure: push corners forward and back students should experiment o Students need to be able to hear what unison sounds like and what bad intonation sounds like to develop their ear Dynamics o To control dynamics: Inside of lips, both lips Play on the inner surface of lips Loud notes should have a pushed out lower lip Dont hold back air Register problems o Always remind students to relax first, then figure out problem o Always blow over the wet part of your lip o Try to buzz the low register Breath points o Should be chosen at ends of phrases o If too long of a phrase, stagger breathing in an ensemble o Think about phrasing when deciding when to take a breath o